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This camera is H.265 only. To be able to play clips on some devices (like MacOs or iPhone) the H.265 stream has to be repackaged and the audio stream has to be converted to aac. Unfortunately direct playback of in the browser is not working (yet), but the downloaded clip can be played locally.
410 mp4
Reolink has older cameras (ex: 410 & 520) as well as newer camera (ex: 520a & 511wa) which support different subsets of options. In both cases using the http stream is recommended.Frigate works much better with newer reolink cameras that are setup with the below options:
Since 1916, Winchester Country Club has been providing its members with services and programs for the whole family. Whether using the pool, enjoying a round of golf on on our 18-hole golf course, playing tennis or simply relaxing with the family for an evening meal, you will be impressed with the quality of our staff and the variety of activities available.
Pro ShopThe Golf Shop at Winchester Country Club is where many of our members first experience the hospitality and quality service of our staff. As the best stocked golf shop in town and a staff with combined experience of over 70 years in the business, it's a virtual certainty that your golfing needs and questions can be answered in a professional, friendly, and most importantly, genuine manner. Robert Baldwin, a 38 year PGA member who was just named the Kentucky Section's 2011 Professional of the Year, is joined by son Robbie, also a Class A PGA member, and veteran teaching professional Bob Sipes as the anchors of the staff.
Practice FacilitiesThe practice facilities at our country club include a 25 tee driving range along with an expansive practice green. The driving range and practice green at Winchester Country Club are kept in excellent condition throughout the year. Our members enjoy the best practice experience in Winchester when warming-up before a round of golf or receiving golf lessons. Call the Pro Shop for additional information at Call the pro shop at Winchester Country Club for information about our practice facilities at(859) 744-4884.
As you have seen in our class, I have been using short video presentations to describe certain computer activities and otherwise show well what is on my screen and to edit and improve the audio narration as well as publish the video to make it accessible on my youtube channel..
As a part of the lessons in this class, and to satisfy the presentation requirements for the class final assignment, you should download the Camtasia software Free Trial to a Windows or Mac machine to which you have access and use it. Here is the link: Once it is downloaded, you have 30 days of full functionality.
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One intellectual current within ethnomusicology is the idea of bi-musicality, or the ability to be fluent in more than one musical system. This course emphasizes the practice of music-dance from a specific region/culture and asks students to reflect on how this practice may compare with the musical systems they already have experience with. Students will be asked to take an embodied approach in learning. At the end of the term, students will share what they have learned with others through an end-of-term presentation. Students taking the class for credit are required to write an end-of-term research paper or produce a creative project related to region in question.
This term is dedicated to learning about the music-dance traditions of the South Central Andes, a region in which I have spent time doing field work. Several of these traditions use instruments that are relatively easily learned (lakitas and tarkas), and everyone will learn a tune in these ensembles. It may be possible to explore two other traditions, the Andean string orchestra (guitars/mandolin/flute/violin/charango) and the Andean brass band (trumpet/baritone/tuba/clarinet/ sax/trombone), depending upon what skills students bring with them to the class. All students will be expected to sing and perform basic dance steps. No prior musical experience necessary.
Beyond humanly organized sound, music is a tool to think with. The different ways in which humans use and talk about music can teach us much about each other. In this class, we will examine music-related practices from cultures associated with three different regions of the world (Fall 2015: South India, China, Hispanic Caribbean). You will learn how people raised in these cultures produce and perceive these musics as well as what concepts scholars have developed to understand these expressions more generally. Beyond exposing you to musics that you may not be familiar with, my goal is for you to apply the concepts you learn here to think critically about the multiple cultural performances you experience in your own lives. This course fulfills the IC (International Cultures) Multicultural Requirement.
Lau, Frederick. 2008. Music in China. Oxford University Press: New York.Moore, Robin. 2010. Music in the Hispanic Caribbean. Oxford University Press: New York.Viswanathan, T. and Matthew Harp Allen. 2004. Music in South India. Oxford University Press: New York.
The Americas is a broad geographic expanse covering a range of cultures that is impossible to cover in-depth in a single academic term. There are ideas, however, that can help us bring important aspects of these cultures together: indigeneity, colonization, diaspora, and hyrbidity. Using these ideas, we will look at a number of countries and cultures in the Americas to see these ideas help us analyze music in specific regions. No musical experience is necessary, but students will be asked to think through listening examples to understand why different musics sound the way they do. This version of the class will focus primarily on countries in Latin America and the Caribbean, but the ideas are applicable throughout the Americas.
Although scientists and engineers at NASA may be the first people to come to mind when thinking about a space mission, there are many different types of individuals and organizations that need to contribute and collaborate for success. This team is investigating and visualizing for the public (e.g. web interactive, map, etc) what people, organizations, and supply chains make the NASA Psyche Mission possible.
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Schematic illustrationof FRET control by forces on the rotaxane-basedsupramolecular mechanophore in stretchable hydrogels. In the force-freestate (left), the green emission is quenched because of CT complexformation or PeT.
Molecular structuresof cyclic compound AnBP, rotaxane-basedsupramolecular mechanophore RotAnBP, and reference compoundscontaining the green (An) or red (BP) emitter.
Recently, linear PUUs carrying carboxyl groups on the main chainwere reported to form hydrogels after swelling with water.37,38 The hydrophobic urea segments aggregate to form strong physicalcross-links, which bestow the PUU hydrogels with high extensibilityand toughness. Speculating that hydrophobic interactions would increasethe association constant between the cycle and the quencher, we electedto investigate the mechanoresponsive behavior of RotAnBP in hydrogels by integrating the new mechanophore into a hydrophilicPUU. This was achieved by the polyaddition reaction between poly(ethyleneglycol) (PEG) (Mn = ca. 2000 g/mol), isophorone diisocyanate, isophorone diamine, and 2,2-bis(hydroxymethyl)propionicacid in the presence of 0.004 mol % of RotAnBP (Scheme S1). The reaction was modified from thereported procedures37,38 because RotAnBP wasunstable when heated (see the Supporting Information for details). The resulting polymer RotAnBP-PUU issoluble in polar organic solvents, such as methanol, dimethylformamide,and dimethyl sulfoxide and displays a number-average molecular weightof Mn = 48 kg/mol. The successful incorporationof RotAnBP into the polymer was confirmed by the absorptionspectrum of RotAnBP-PUU in methanol, which shows thediagnostic signals of the chromophores (Figure S4). However, no peaks corresponding to RotAnBP can be observed in the 1H NMR spectrum of the polymer,on account of its low concentration (Figure S5). The photoluminescence spectrum of a methanol solution of RotAnBP-PUU (Figure S4) shows thatthe FRET process remains suppressed after incorporation into the polymer. 041b061a72